And what were those pre-conceived notions? Simple: That Lloyd-Webber is undeniably talented but toils mostly in overblown melodrama and that “Phantom,” while undeniably popular (longest running show on Broadway), is probably one of the most overblown of the bunch.

Seeing the new Las Vegas production of the show unfortunately didn’t dispel any of those notions for me.

First, it’s worth noting that this is not “Phantom of the Opera” specifically. That show has a running time somewhere north of 2 ½ hours (with intermission) while this production, named “Phantom: The Las Vegas Spectacular,” clocks in at a sleek 90 minutes or so (with no intermission). Do the math and that means at least 45 minutes of material has been yanked and probably even more since some special effects pyrotechnics have been added that eat up a couple of minutes.

According to someone I trust who had seen the original Broadway version and this version, the core of the show and all its important moments are still there. Songs like “Music of the Night,” “The Phantom of the Opera,” “All I Ask of You,” and “Masquerade” are all still here as is the basic plot: In early 1900’s Paris, opera diva wannabe Christine is torn between her love for a handsome, stable, kind of boring guy and her love/obsessions with a mask-wearing, possibly psychopathic, freak show who kidnaps her and lives in a watery underground lair beneath the Paris Opera House.

I’m being reductive, but I that’s really what it boils down to.

What is missing, according to my trusted colleague, is a lot of the up-front character development that helps to explain the Phantom’s attraction/obsession with Christine and vice versa. What I, a neophyte to the story, walked away with a puzzling wonderment as to where the conflict in the story was. What I got was that the Phantom was quite, quite demented and I didn’t see why Christine would’ve had even the slightest interest in him. Then again, this is the very crux of just about every episode of the “Jerry Springer Show” so perhaps there’s something to it after all.

The bottom line is I didn’t feel the slightest bit of sympathy for this character, which seems like a crucial element for the show to work.

Adding to my problems with the story (or at least this version of it), were my problems with the show itself. From its plodding pacing to its extended stretches of operatic balladry, this is not what you’d call a perky show. And much of that balladry has a rote sameness to it after awhile, to the point where you being to believe that there are basically three songs in the entire 90 minutes that they keep repeating and reprising. There is very little up-tempo about it, and while I wasn’t expecting a Busby Berkley musical, I would have liked something more to enliven the production other than on-stage explosions.

Ah yes, the “Spectacular” part of “Phantom: The Las Vegas Spectacular.” What you’ve got are various pyrotechnics, flash pots explosions, some fireworks, and some admittedly cool trickery with the chandelier. It’s really nothing to get too worked up about and actually annoying in some places because the flashes are so bright that they actually keep you from seeing what is going on around them. It also reduces the effectiveness of the “big moment” of the show involving said chandelier, which feels a little bit of a let down after lots of things blowing up.

The staging itself is what I’d ascribe the word spectacular to. The stage and entire theater are transformed from an abandoned opera house to an in-its-prime version in the blink of an eye and the sets (especially the Phantom’s lair) are visually stunning.

Performances are very good across the board but with no real stand-outs. I’m going to place the blame for the lack of character development on the cut-down production and not on the actors themselves, fairly or not.

Going back to that colleague of mine who had seen many productions of “Phantom”… She loved this version, even getting worked to misty tears by the end of it. Now, I wonder if she was filling in holes in the story because she knew what was supposed to be there, therefore getting her to an emotional level that newbies like myself could never attain, but that’s a question without an answer.

I wonder about the long-term viability of this show, which just doesn’t feel like a fit for Vegas. Does the high-profile failure of other Broadway transplants like “Hairspray” and “Avenue Q” bode poorly for “Phantom” or is it such a force of its own (did I mention? Longest running show on Broadway?) that it doesn’t need things like character development, pacing, and energy to sustain it? I’ll check back with you in a year or so.